About Me

By day, I perform strategic marketing duties for MorphoTrak (a subsidiary of Morpho, a subsidiary of Safran). By night, I manage the Empoprises blogging empire, as well as various virtual properties in Starfleet Commander and other games. Formerly known as Ontario Emperor (Ontario California, not Ontario Canada). LCMS Lutheran. Former member of Radio Shack Battery Club. Motorola Yellow Badge recipient. Top 10% of LinkedIn users.

Thursday, December 27, 2012

In my previous post, I noted that the absence of any mention of music in the woman's 2005 interview was unusual. Over the next few years, the woman's love for music would manifest itself in a very big way.

[W]ay back in 2008 I first encountered [her] sound checking in a Soho venue playing a track entitled ‘Ghost’, it totally mesmerised me.

And Stevo wasn't the only person who was mesmerized. In the course of his interview with the woman, he noted this:

You’ve been very lucky in having not one track but two used for commercials ‘Piano B’ for Expedia and more recently ‘The Kiss’, used by both Marks & Spencer and Apple’s new I-pad? How did they come about? Has the income helped your bigger picture?

The woman - whose name is Phildel (a combination of her natural father's name and her mother's name) - responded:

Four of my tracks have been used in commercials around the world, two of them in the UK. They all came about in different ways, through different individuals, agencies or publishers. But my publisher Warner Chappell have been very proactive in the realm of pitching my music for advertising. I re-invest whatever I income I make into top-of-the-range studio equipment and cameras for documenting everything and creating visuals. So, it all goes back into my music.

In addition to signing with publisher Warner Chappell, Phildel has also signed with Decca, and in the process has recorded an album that fleshes out some of her songs with dramatic instrumentation and production. As an example, compare this solo ukelele performance of "Storm Song."

A powerful voice singing a quiet song.

But Phildel has now released another video of the song, with the track that will be released on her forthcoming 2013 album.

The result is a much more dramatic piece. Phildel spoke about this with Stevo:

I would tell Ross Cullum, the producer, all of my ideas – from the large-scale concepts of how the choirs represented ethereal water spirits in the sonic landscape, down to the smallest details of how I thought a cymbal should be EQ’d, when I thought specific sounds were too metallic. He listened carefully and we worked together to create the best album we could. He had the experience, intuition and technical ability, to enhance all of my creative thinking. Out of my music career so far, working with Ross was undoubtedly my greatest highlight.

Her debut album "The Disappearance of the Girl" is set for UK release in January 2013.

She continues to have her champions, including Stevo. I first heard "Storm Song" when he shared it on This is My Jam. As I write this post, it's my jam also.

A final note - I intentionally separated this blog post into two separate parts (the first is here if you didn't see it). While those who have read both parts understand the connection between the two, and why Phildel writes about storms and girls who disappear, it's also quite possible to enjoy "Storm Song" on its own merits.

In my previous post, I noted that the absence of any mention of music in the woman's 2005 interview was unusual. Over the next few years, the woman's love for music would manifest itself in a very big way.

[W]ay back in 2008 I first encountered [her] sound checking in a Soho venue playing a track entitled ‘Ghost’, it totally mesmerised me.

And Stevo wasn't the only person who was mesmerized. In the course of his interview with the woman, he noted this:

You’ve been very lucky in having not one track but two used for commercials ‘Piano B’ for Expedia and more recently ‘The Kiss’, used by both Marks & Spencer and Apple’s new I-pad? How did they come about? Has the income helped your bigger picture?

The woman - whose name is Phildel (a combination of her natural father's name and her mother's name) - responded:

Four of my tracks have been used in commercials around the world, two of them in the UK. They all came about in different ways, through different individuals, agencies or publishers. But my publisher Warner Chappell have been very proactive in the realm of pitching my music for advertising. I re-invest whatever I income I make into top-of-the-range studio equipment and cameras for documenting everything and creating visuals. So, it all goes back into my music.

In addition to signing with publisher Warner Chappell, Phildel has also signed with Decca, and in the process has recorded an album that fleshes out some of her songs with dramatic instrumentation and production. As an example, compare this solo ukelele performance of "Storm Song."

A powerful voice singing a quiet song.

But Phildel has now released another video of the song, with the track that will be released on her forthcoming 2013 album.

The result is a much more dramatic piece. Phildel spoke about this with Stevo:

I would tell Ross Cullum, the producer, all of my ideas – from the large-scale concepts of how the choirs represented ethereal water spirits in the sonic landscape, down to the smallest details of how I thought a cymbal should be EQ’d, when I thought specific sounds were too metallic. He listened carefully and we worked together to create the best album we could. He had the experience, intuition and technical ability, to enhance all of my creative thinking. Out of my music career so far, working with Ross was undoubtedly my greatest highlight.

Her debut album "The Disappearance of the Girl" is set for UK release in January 2013.

She continues to have her champions, including Stevo. I first heard "Storm Song" when he shared it on This is My Jam. As I write this post, it's my jam also.

A final note - I intentionally separated this blog post into two separate parts (the first is here if you didn't see it). While those who have read both parts understand the connection between the two, and why Phildel writes about storms and girls who disappear, it's also quite possible to enjoy "Storm Song" on its own merits.